Christian Oyarzún a chilean visual artist, born in 1972, Santiago, Chile.After three years of Civil Engineering studies, he left this carreer and started his Art studies, obtaining a Master of Arts with a major in Painting at P. Universidad Cat

------------------------------[english version]------------------------------crc/cw----------context:----------Technologization is a process to our societies have being integrating lately, respect those that are technology producers.

Consequently with the development of digital technologies and their dumpping over the market, it has been arrived at a comparison between the technological objects to which we may access; the local market opens to the global market.

In this way, the local environment shows a diverse technological outlook (in that the modernization of structures is gradual, late, later and not congruent) where highly technological objetcts/systems overlaps a precarious system. This technnological hybridization produces taking off's and inefficiencies that can be recovered as a loss.

In this context, the access to technological object works as a mean of social representation, at the same time that technologization, as a process, is assumed as an integration strategy of the local environment in the global context.

Beyond his medial and simulation hypercapacity, the power of new media resides in being a model of interpretation in and over the reality that place us in a extatic and marginal situation respect its own processes. The relocation as terminals in which we are disposed manifests a silent violence that modifies the experience of our own bodies as informed entities.

The relationship body/information may be understood as an operation where both parameters exclude each other and, therefore, requiring mediation. That relationship can only be established meanwhile the first is informmed, that is, by cut/register process as differential operations of decodification/codification.

At the same time, the relationship information/body only works in scattered and asynchronic action fields by means of its representation/re-spatialization. Based on the idea that information is a flow reduction from a continuous system to a discrete one, this requires to be amplified and desinformed by agreed representation systems.

The signal amplifications -or extensions- produced by media, determines its effectiveness/credibility to its response's time and predictibility of the expected results, neglecting isolated non-decodificable code fragments that can produce frictions between system and enviroment, and avoiding take off's between broadcasting and receiving sources that can cause interference or noise.

Following a similar logic, as the acritic (and also sudden) access to new technologies, and because of the lack of appropriated technical and conceptual tools, the local artistic production has aproacheded them almost exclusively as a shifting of the artwork's medium, indifferent to the chance of a detailed exploration of the languages, from the modification/intervention of pre-existing devices to the construction of distribution devices/medium own and congruent with its production environment.------------description:------------http://www.error404.cl/crc_cwGiven two volumes v and v[j] belonging to v[] and excluding to each other.

crc/cw is a device that consist of in a physical installation and document published in the internet, introduced as a prototype of possible artwork, from the local context to a global expansion one or, more specifficaly, as a neighborhood one.

crc/cw is an artwork proposal based and conditioned by an investigation about the procedures that would give it specificity to the relationship between art and digital technologies, inscribed under the protection of the question by the pertinence of the progressive insertion of technology in the context of the local production, peripherical to the global centers of technological development.

crc/cw is a technological bounding object consisting of 4 units:-an input unit: 8 infrared movement sensors distributed in v which ones we obtains a representation of one byte corresponding to the circulation of the exhibition space.-a process unit: a digitalization device and a data representation device, consisting of a system of autonomous temporal, graphics and sound cycles/pattern, that undergoes alterations in their diplay deppending on the excitability/irritability of the system.-an audiovisual output/display unit: located in v[j] is a non-instantiable device of spatialization/representation that works as an spatial proyection of v in v[j].-a registry unit: as crc/cw only make registries in RAM, it will be only had the access to its own diagram like registry.

crc/cw operates like a feedback control system (as a circuit or servomechanism), that is, as an enclosed retroaction system that keeps a relative stability in view of external or internal disturbances.

crc/cw is then conceived as an implicitly virtual prototype -meanwhile it exists in its own diagram-, and which develope stars from the articulation of elements and precarious operations respect to the paradigm defined by the use of new technologies, being presented as an speculation process about the noise/takeOff produced by the feedback of physical systems and digital systems, as a possible field for sense construction.